21: A Pessimism of Strength - Dionysus v/s The Crucified

21: A Pessimism of Strength - Dionysus v/s The Crucified

This is the final episode of our series on Schopenhauer, and the episode where we will finally draw some general conclusions, not merely about Schopenhauer’s philosophy or his life, or how he influenced Nietzsche - but rather about Nietzsche’s philosophical project itself and how Schopenhauer helped him discover the true opposition at the heart of his work. Nietzsche has been called a romantic during his early period, owing to the influence of Schopenhauer and Wagner. Nietzsche has also been called a pessimist, because of his cynicism about our will to truth, for example, his critiques of morality, and his predictions of the collapse of our values structures in the wake of the death of God and thus the rejection of a divine origin or teleology for man. In this episode, we’re looking at writings from 1886 and 1887, where Nietzsche looks back on his intellectual development , and tells us in his own words how he grew to differ from the romantic pessimism of his influences. Through this understanding of his fundamental differences with Wagner and Schopenhauer, Nietzsche gained a clear idea of that which he opposed in current society, and that which he felt was needed or lacking. His discovery is another useful skeleton key for his work: the Dionysian as the life-giving spirit of transformation that man can discover by again spiritualizing the animal drives, and all that is Christian as the symbol of the denial of life and the turn towards nihilism. Through the formula of Dionysus v/s the Crucified, Nietzsche discovered what Schopenhauer lacked, and what his own task was in philosophy: to search for “a pessimism of strength” that could harness the penetrating, heroic honesty that Schopenhauer modeled, and put it into the service of life.

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Birth of Tragedy #8: 22-25 (Conclusion)

Birth of Tragedy #8: 22-25 (Conclusion)

Nietzsche recapitulates and summarizes his positions, and provides us with a few relatively simple formulas for understanding the interaction of the two art-forces. He hopes for a rebirth of tragic art in Europe. We conclude with my distillation of the main philosophical concepts, the significance of which can be expanded beyond the work.

4 Okt 20222h 4min

Birth of Tragedy #7: 18-21 (Alexandrianism)

Birth of Tragedy #7: 18-21 (Alexandrianism)

Here we find the idea of cultures as admixtures of the Apollinian, Dionysian, or Socratic approaches to life. The Socratic is distinguished from the Apollinian, and modern art and culture is assessed as theoretic parasitism on art.

27 Sep 20221h 59min

Birth of Tragedy #6: 14-17 (The Theoretic v/s the Tragic)

Birth of Tragedy #6: 14-17 (The Theoretic v/s the Tragic)

Socrates, having been introduced in the last chapter we studied in the previous section, appears now to threaten all art, with a worldview described as "the theoretic", which is fundamentally opposed to the tragic. The theoretical worldview is, by nature, optimistic, moralistic, and against all illusion and ignorance. Nietzsche first raises the prospect of "an artistic Socrates", and rails against the New Attic Comedy as a degenerated artform in comparison to Attic Tragedy.

20 Sep 20222h 36min

Birth of Tragedy #5: 11-13 (Euripedes & The Death of Tragedy)

Birth of Tragedy #5: 11-13 (Euripedes & The Death of Tragedy)

Now we turn to the effect of Euripedes, and Nietzsche’s charge that this tragedian came under the influence of Socrates, and the new form of drama, New Attic Comedy, that followed.

13 Sep 20222h

Birth of Tragedy #4: 8-10 (Evolution of the Satyr Chorus & Suffering Hero)

Birth of Tragedy #4: 8-10 (Evolution of the Satyr Chorus & Suffering Hero)

Let’s talk about the evolution of the Attic Tragedy: from solo dithyrambic poet, to dithyrambic chorus, to chorus plus the ritualized portrayal of a masked Dionysus, to an entire tragedy performed on stage behind the “magic wall” of the chorus.

6 Sep 20222h 12min

Birth of Tragedy #3: 4-7 ("Objective" v/s "Subjective" Art)

Birth of Tragedy #3: 4-7 ("Objective" v/s "Subjective" Art)

We continue our analysis of Birth of Tragedy, and enter one of the most byzantine sections of the text. Don’t worry, I shall be your Ariadne.

30 Aug 20222h 4min

Birth of Tragedy #2: 1-3 (The Two Art-Forces)

Birth of Tragedy #2: 1-3 (The Two Art-Forces)

Today we cover the first three sections of Birth of Tragedy. Slow going, I know- but things will begin to move at a faster clip as we continue. In this episode the core concepts of the Apollinian and Dionysian art forces are explained, their relation to one another, and their origin in dreams and intoxication.

23 Aug 20221h 56min

Birth of Tragedy #1: Attempt At Self-Criticism/Preface to Wagner

Birth of Tragedy #1: Attempt At Self-Criticism/Preface to Wagner

In the name of Lord Dionysus, it with great joy and solemnity that we commence this, the first of our Nietzschean bookclubs. This series will see me undertake an in-depth analysis, moving section-by-section, through Nietzsche’s first book: The Birth of Tragedy. In the first episode, we’ll look at Nietzsche’s masterful second preface, written in 1886 and attached to the beginning of the work. This episode will therefore serve as a sort of introduction to the text, contextualizing it within Nietzsche’s own understanding of his early text and how it laid the foundations for many of his later ideas.

16 Aug 20222h 25min

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